Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 6, 2010 | Pierre Berge & Associes | Paris | ART PREMIER ET MODERNE ET CONTEMPORAIN | 332 | $****** - ****** | The House of Hercules |
paintings
81 x 100 cm (31.89 x 39.37 in)
Oil on paper mounted on canvas
Signed lower left
- Galerie Jeanne Bucher, Paris
- 1968. Q. Enryan, reproduit - 1978.M et 1987. M LAssaigne - Weelen, reproduit sous le n°296 - 1988, C. Senghor, p.128 - Catalogue raisonné reproduit sous le numéro 2000 Exposition personelle : 1967-1968 Paris, Galerie Jeanne Bucher, repr.
MARIA HELENA VIEIRA DA SILVA (1908-1992)
The House of Hercules, 1965 Oil on paper mounted on canvas. Signed lower left. H: 81 cm W: 100 cm "It"s a new world that opens up to us, a world open to an accepted chaos" She creates a universe capable of amalgamating the propositions of chance in the manner of a musician, she composes a whole harmonic The line, so dear to Vieira da Silva, bursts through the canvas, the artist considers all the possibilities of the line except that of the contour. The lines overlap, juxtapose, intersect and combine. All these lines evoke the unexpected, but also suggest the plot. Here, the structure of the work lies in the full and empty spaces which respond to each other. The work presented here introduces the mobility of the gaze, the eye travels through these lines forming squares, like transverse passages inviting us towards other worlds and effecting an abyss of forms. Never giving in to the spontaneity of the gesture in favor of a constructed labyrinth, Vieira da Silva invites us here to get lost.
